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Barbora Toman Tylova who visited the Sackner Archive in 2011 contributed an illustrated essay dealing with her experience with the books held by the Archive. -- Source of annotation: Marvin or Ruth Sackner.

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Published on the occasion of an exhibition at workffortheeyetodo in London, April-May, 1994. -- Source of annotation: Marvin or Ruth Sackner.

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The editor of this volume, Jean-Francois Bory, provides an introductory essay on the artist and cartoonist Jean-Louis Forain. -- Source of annotation: Marvin or Ruth Sackner.

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El Lissitzky describes his theatrical plans for "The Electrical-Mechanical Spectacle." It was published as a folio of ten colored lithographs which were used by Mayakovsky in "For Reading Out Loud." The Spectacle used the music from "Victory Over the Sun" by Krutchyck with sets by Malevich. -- Source of annotation: Marvin or Ruth Sackner.

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This issue includes information on the Brighton Festival Exhibition of Concrete Poetry that was directed by Stephen Bann. The founding of Black Mountain College is described by Lewis Shelley. "The Early Days of Concrete Poetry" are described by Eugen Gomringer. -- Source of annotation: Marvin or Ruth Sackner.

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This issue contains the second section in the series on the history of Black Mountain College. The article on sound poetry by Hausmann was translated by Stephen Bann. -- Source of annotation: Marvin or Ruth Sackner.

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Contains section three of the history of Black Mountain College. -- Source of annotation: Marvin or Ruth Sackner.

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John Bowlt contributes an in-depth essay titled "Russian Exhibitions, 1904 to 1922." The series on Black Mountain College is continued with "Play, Life, Illusion 1924-37," a Spectodrama by Xanti Schawinsky. An excerpt of the experimental novel, Grabinoulor, by Albert-Birot that has been translated into English by Barabara Wright is included as well as a bibliography of several small magazines. -- Source of annotation: Marvin or Ruth Sackner.

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Hans Richter contributes "In Memory of Marcel Duchamp." Mark Hedden continues the series on BMC with "Notes on Theatre at Black Mountain College." The magazine Kulture, published by Lita Hornick, is indexed. -- Source of annotation: Marvin or Ruth Sackner.

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All pages are perforated by 8 small holes that held rivets shipped with this issue; these were attached by the subscriber to the spine. -- Source of annotation: Marvin or Ruth Sackner.

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The book is cut on the center of the spine in a rectangular shape so that the opening appears on each page. The essays deal with the digital computer influence on design, architecture, art, typography and books. -- Source of annotation: Marvin or Ruth Sackner.

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Each page consists of fragmented, printed text accompanied by found images with most of them composed as photomontages. This is a reprint in a smaller format of a book first published by Continuum in 1963. -- Source of annotation: Marvin or Ruth Sackner.

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Foto-fix indicates the process where portrait photographs are automatically made and developed from the subject(s) sitting in an enclosed booth that has a slot for insertion of currency to pay for them. The photographs reproduced in this book are either straight or manipulated portraits. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Beaulieu comments: an afterword after words: notes towards a concrete poetic.Despite over a century of poetic innovation since Stephane Mallarme's "Un Coup de Des Jamais n'Abolira le Hasard" (1896) & almost 50 years since the publication of Eugen Gomringer's manifesto "Concrete Poetry" (1956), there is still no accepted critical vocabulary for concrete poetry. Concrete poetry is often contextualized historically & is categorized as a subgenre of radicalized praxis from its predominantly modernist period in the 1950s through to the present. By reiterating this historical precedent -- a stridently modernist activity -- criticism on concrete poetry more often than not reifies the idea that this form is still in its infancy, requiring a citation of poetic precedent in order to justify its existence. Brion Gysin remarked that "writing is fifty years behind painting," an assertionevident in the cultural & critical reception for concrete poetry. Readings based upon...

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Martha B. Scott contributes an essay on the cultural aspects of the artists' collage works. -- Source of annotation: Marvin or Ruth Sackner.

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Vittore Baroni contributes an essay on Yoko Ono, rock music, and Fluxus. -- Source of annotation: Marvin or Ruth Sackner.

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The book deals with the history and critical analysis of free verse. -- Source of annotation: Marvin or Ruth Sackner.